POPULARITY
20 episodes with cell block
41 episodes with cell block
7 episodes with cell block
7 episodes with cell block
6 episodes with cell block
4 episodes with cell block
3 episodes with cell block
2 episodes with cell block
3 episodes with cell block
March 7, 1954 - Jack's big date at the Acme Plaza Hotel with Giselle Mackenzie broadcast from New York, New York with guest Frank Fontaine. References include the play "Tea and Sympathy", movies "Beat the Devil", "It Should Happen To You", and "Riot in Cell Block 11".
Have the gang made enemies made along the way, or could they be future friends? The Abnimals form an unlikely alliance and gather some new best acquaintances as they search for the mysterious Clamgela and Walrus.Abnimals Theme by Justin McElroy, Eric Near (https://bit.ly/ericnearmusic) and Jonathan Coulton (https://www.jonathancoulton.com/).Additional Music in this Episode: "Awkward Cafe", "Blood in the Water", "The Get Away", and "Catch and Release" by Mr. Smith: https://www.youtube.com/channel/UCSk2j0fTMw9V94UGyfWrSuA?; "Taffy Machine" by Kate Kody: https://freemusicarchive.org/music/kate-kody/; "Instrumental Sontagsfaherer" by Patrick Steel: https://www.youtube.com/channel/UCqee4AUSj6Jocrsr-uDEAmA; "Ladies and Gentlemen, We Have Liftoff" by Wax Lyricist: https://freemusicarchive.org/music/wax-lyricist/; "Darude - Sandstorm [Chiptune Version]" by BildPünkT: https://soundcloud.com/lichttrager; and "Sick of" and "Turn around" by Koi-discovery: https://koi-discovery.lescigales.org/.Palestine Children's Relief Fund: https://www.pcrf.net/
On the heels of a terrific new Apple+ TV series, BAD MONKEY (which will film its second season in the near future), let's revisit our last chat with him, recorded in front of a live audience at Fantastic Fest in Austin, Texas in September of 2017. Vince was at the festival with his then-brand-new movie Brawl in Cell Block 99, but had no hesitation in reviewing his career and the film that launched it, Swingers.
Den of Thieves 2 A Complete Unknown Baby Girl Brawl in Cellblock 99
Brian Gabbard, a pastor turned jailer, shares his journey from the pulpit to working inside a county jail. In this episode, Brian gives an inside look at the challenges and experiences he faced while navigating life on both sides of the justice system. From ministering to inmates to maintaining order behind bars, Brian's story explores faith, redemption, and the roles he has played in a courthouse jail environment. Tune in to hear his perspective and the impact of his work. #PastorTurnedJailer #LifeBehindBars #FaithAndJustice #PrisonStories #RedemptionJourney #InsideCountyJail #JusticeSystemInsights #PulpitToPrison Hosted, Executive Produced & Edited By Ian Bick: https://www.instagram.com/ian_bick/?hl=en https://ianbick.com/ Presented by Tyson 2.0 & Wooooo Energy: https://tyson20.com/ https://woooooenergy.com/ Buy Merch: https://www.ianbick.com/shop Use code lockedin at checkout to get 20% off your order Timestamps: 00:00:00 Understanding the Role of a Jailer 00:04:07 Life and Responsibilities as a Jailer 00:10:37 Impact of Passionate Staff on Inmate Experience 00:12:02 Managing the Jail System and Trust 00:16:09 Efficient Commissary Management and E-cigarette Sales 00:20:03 Skills Learned in Prison for Post-Release Employment 00:23:54 Understanding Inmate Hygiene and Facility Rules 00:27:36 Life Inside a Jail and Sentencing Process 00:32:22 Building Respect and Compassion in Jail 00:35:58 Compassionate Jail Management Approach 00:40:16 Challenges of Transitioning Jail Leadership 00:43:58 The Power of Kindness in Transforming Lives 00:48:01 Transitioning from Preacher to Jailer: Challenges & Insights 00:51:57 Overcoming Adversity: A Personal Story 00:55:45 Making a Difference in Others' Lives 00:59:53 Navigating Relationships with Incarcerated Loved Ones 01:03:57 Reflecting on a Podcast Interview with a Connecticut Guest Powered by: Just Media House : https://www.justmediahouse.com/ Creative direction, design, assets, support by FWRD: https://www.fwrd.co Learn more about your ad choices. Visit megaphone.fm/adchoices
INTRO CODY JOHNSON: Hat Made Of Mistletoe (2021) CODY JOHNSON & ROGER CREAGER: Feliz Navidad (2021) DAVINA & The Vagabonds: Santa Bring My Baby Back (To Me) BILL KIRCHEN & AUSTIN DE LONE: Santa Claus Wants Some Lovin' (2016) DALE WATSON: Christmas to Me (2016) CODY JOHNSON: Christmas All Year Long (2021) DALLAS MOORE: Honky Tonk Holidaze (2020) DARREL HIGHAM: Christmas Blues (2020) BUBBA T Ft Natalie Rose: Frosty The Snowman (2021) CANTON JUNCTION: A Big Ole Texas Christmas (2021) CODY JOHNSON Santa Claus Is Back In Town (2021) HEATHER MASSE: Mittens (2016) DARREL HIGHAM & IMELDA MAY: Forgive Me On Christmas Day (2021) SEE YOUR SHADOW: Christmas on Cellblock 9 (2021) CODY JOHNSON: If We Make It Through December (2021) TJ SPARKS: What Would Christmas Be (2020) CHAD MULLINS Christmas Angel (2020) ELVIS PRESLEY: Merry Christmas Baby OUTRO : Campfire
We're cooking the books and stirring up crooks. Dang, we feel shook! This episode, we investigate the fine line between profit and prison for three jaw-dropping cases of corporate fraud and white-collar crime. Why do so many tech entrepreneurs go bad, and run afoul of their customers or the SEC?To get to the bottom of it, we went to the top – we talk to a tech CEO just out of prison for lying to investors as well as THE WHISTLEBLOWER responsible for shutting down the biggest health tech fraud of our time, and critical in sending a certain infamous female CEO to prison. If that wasn't enough, our very own cohost was almost caught destroying evidence. ShowUp is hosted by Leigh Lepore and Jameson Pitts, and is a production of Mintr Marketing and Sangfroid Marketing Studio. The show is mixed by Justin Newton of Jay Song Studio. Check out our website and subscribe to our newsletter at the links below: showup-podcast.com mintrmarketing.com sangfroidstudio.com
What does it take to rebuild a shattered life and find purpose after hitting rock bottom? In part two of Jason Courtney's riveting story, he shares the unexpected twists and turns that shaped his journey of redemption and faith. Packed with raw honesty and powerful lessons, this episode will leave you inspired to embrace transformation and walk boldly into your own next chapter. Tune in and discover what's possible when grace takes the lead!Key Takeaways To Listen ForThe surprising struggles and eye-opening moments of stepping back into a fast-moving world after years in prisonHealing Through Confrontation: Discover how an emotional conversation brought long-overdue reconciliationWays Jason leveraged creativity and determination to revitalize a struggling sales officeThe miraculous series of events that led Jason to his wife and how prayer and faith guided their journeyHow Jason's decision to fully trust in God reshaped his life and paved the way for a newfound purposeResources Mentioned In This EpisodeEP240: Cell Block Salvation with Jason CourtneyResidents Encounter ChristAbout Jason CourtneyJason is the founder of "Deals With Jason," based in St. Louis, Missouri. With a background in the building and real estate industry, he has experience in short sales, house flipping, and commercial developments. During a challenging period, Jason developed a business model that benefits both homeowners and buyers. Homeowners can turn unwanted properties into quick, hassle-free investments, while buyers who don't qualify for traditional loans have a chance to rebuild credit and become homeowners again. Jason is passionate about helping others while building a portfolio of passive income.Connect With JasonWebsite: Deals With JasonConnect With UsMaster your context with real results leadership training!To learn more, visit our website at www.greatsummit.com.For tax, bookkeeping, or accounting help, contact Dr. Nate's team at www.theincometaxcenter.com or send an email to info@theincometaxcenter.com.Follow Dr. Nate on His Social MediaLinkedIn: Nate Salah, Ph.DInstagram: @natesalah Facebook: Nate SalahTikTok: @drnatesalahClubhouse: @natesalah
The PSYCHOBILLY FAMILY POWER HOUR broadcast no. 47 is ready for your ears and includes new tracks from Killer Tone Jones, Lords of the Highway, Black Hearse Getaway, Screamin' Sins, and Dead United, as well as tracks from Roselit Bone, Wanda Jackson, Gutter Demons, Vince Ray & the Boneshakers, 38Coffin, The Cain Pit, The Time Travellers, Dick Dynamite & the Doppelgangers, Empress of Fur, Bonsai Kitten, Elektraws, Mystery Action, and the Raucous Red Roosters. If you need to let loose a little, come join the fun! If you like what you hear, I invite you to join the PFPH family at http://www.facebook.com/groups/psychobillyfamilypowerhour and to follow me on your preferred streaming platform. Reposts are particularly appreciated! DJ CYPHER'S PSYCHOBILLY FAMILY POWER HOUR Broadcast #47 (26 November 2024) Screamin' Sins, “Cold Black Heart” Killer Tone Jones, “Voodoo” Lords of the Highway, “Werewolf at Night” 38Coffin, “Cars, Babes, & Rock'n'Roll” Dead United, “Be Afraid of the Night” The Cain Pit, “Roses” Roselit Bone, “Your Gun” The Time Travellers, “Dark Silhouettes” Black Hearse Getaway, “Danse Macabre” Mystery Action, “Man of Mystery” Wanda Jackson ft. the Cramps, “Riot in Cell Block #9” Vince Ray & the Boneshakers, “Curse of the Voodoo Guitar” Gutter Demons, “Silver & Gold” Bonsai Kitten, “Don't Mess With Me” Electraws, “Elektones” Dick Dynamite & the Doppelgangers, “Partners in Crime” Raucous Red Roosters, “Hoochie Coochie Man” Empress of Fur, “Roadster” DJ cypher's PSYCHOBILLY FAMILY POWER HOUR: 2nd and 4th Tuesday at 9 PM Eastern US on sorradio.org. Contact: darknationradio [at] gmail [dot] com Playbacks http://www.mixcloud.com/cypheractive Downloadable http://www.hearthis.at/cypheractive Social Media: http://www.facebook.com/groups/psychobillyfamilypowerhour
Send us a textIn today's interview, we sit down with filmmaker Joe Barber and actor Jim Storm to discuss the bold and hilarious new political satire Prisoner Trump: The Don of Cell Block B. With “The Former Guy” still dominating the news, this indie gem offers a much-needed comedic escape as it imagines Donald Trump and Rudy Giuliani behind bars, navigating a prison economy filled with “Trump Bucks” and “Ivana Cakes.”Directed by Joe Barber, Prisoner Trump brings razor-sharp humor and a fresh take on America's obsession with wealth, power, and politics. Available for an exclusive preview on prisonertrump.com ahead of its wider streaming release for Election Day 2024, this film is already generating buzz as the satire of the year.Dive into this timely interview to hear Jim and Joe's insights on creating this scathing yet wildly entertaining film that satirizes Trump's larger-than-life persona in the ultimate role reversal. Perfect for fans of political comedy!http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn
Send us a textThis episode of The Big Scoop with Coop (Season 11 Episode 15) I have producer Joe Barber and actor Jim Storm speaking about the movie Prisoner Trump: The Don of Cell Block B that is out now on Apple TV. Jim is well known for his time on The Bold and the Beautiful in the 80's & 90's as the role of Bill Spencer. Joe and Jim will speak about their career, Prisoner Trump: The Don of Cell Block B, The Bold and The Beautiful and more!#theboldandthebeautiful #appletv #producer #actor #trump #BillSpencerFollow The Big Scoop with Coop on all platforms:https://www.thebigscoopwithcoop.comwww.tiktok.com/thebigscoopwithcoopwww.facebook.com/thebigscoopwithcoopwww.instagram.com/bigscoopwithcoop
Send us a textThis episode of The Big Scoop with Coop (Season 11 Episode 15) I have producer Joe Barber and actor Jim Storm speaking about the movie Prisoner Trump: The Don of Cell Block B that is out now on Apple TV. Jim is well known for his time on The Bold and the Beautiful in the 80's & 90's as the role of Bill Spencer. Joe and Jim will speak about their career, Prisoner Trump: The Don of Cell Block B, The Bold and The Beautiful and more!#theboldandthebeautiful #appletv #producer #actor #trump #BillSpencerFollow The Big Scoop with Coop on all platforms:https://www.thebigscoopwithcoop.comwww.tiktok.com/thebigscoopwithcoopwww.facebook.com/thebigscoopwithcoopwww.instagram.com/bigscoopwithcoop
As The Shawshank Redemption turns 30, Ellen E Jones and Mark Kermode explore life behind bars as seen on screen, investigating how film and TV have shaped our ideas about the prison system. Why do prisons make such good settings for cinema? Ellen investigates the relationship between prison exploitation and prison reform, talking to director S Craig Zahler about his ultra-violent 2017 film Brawl In Cell Block 99 and the movies that inspired it, from Birdman of Alcatraz to Riot in Cell Block 11. And she speaks to Dr Kalima Young about the impact of Netflix's hit series about a women's prison, Orange Is The New Black. Meanwhile, Mark talks to writer and broadcast Richard Weight about the enduring relevance of the classic British sitcom Porridge. And he speaks to 'the daddy' of prison dramas - Ray Winstone - about the impact of his breakout role as a borstal boy in the controversial, banned TV play Scum.Producer: Jane Long A Prospect Street production for BBC Radio 4
Aaron Butler joins Dave to chat all things P Diddy, Chinese food, Dua Lipa and AI sitcom ideas! Roleplay Recording: https://courthousebangor.com/event/dave-elliott-roleplay-live-recording-2/ Video Pod: https://youtu.be/aKMhZhWWNxI Podcast Merch: https://visualanticsapparel.com/collections/sly-guy SLYGUY10 @ check-out for 10% off all SLY GUY gear! Modest Beer: https://www.modestbeer.co.uk SLYPA15 @ check-out for 15% off your Modest purchase Patreon: https://www.patreon.com/slyguypodcast Instagram: https://www.instagram.com/daveelliottcomedy/
Tim and Ted briefly describe the circumstances that forced them to take a week off of the podcast and that gave them a new appreciation for local law enforcement. Plus, Ted helps the police come up with an innovative new fundraising plan to help deal with under-funding from the city. Also, a new song from Cory and a new career development for Lil Anti-Pastor PP Shooter. Support Tep Talk: www.Patreon.com/TechTalkPod
From the brink of a 50-year prison sentence to a life of purpose and redemption, Jason Courtney's story is nothing short of remarkable. In this episode, he shares raw, unfiltered details about his turbulent past, the life-altering moment in prison that changed everything, and how he transformed his darkest days into a future full of hope and success. You won't want to miss this incredible tale of second chances, resilience, and the power of transformation.Key Takeaways To Listen ForHow a tumultuous upbringing led Jason to a life of rebellion and the surprising moments that sparked his transformationThe role of forgiveness and grace in healing fractured family relationshipsJason's firsthand account of life in prison and the powerful spiritual awakening that transformed his life behind barsUnlikely friendship and life-saving connections that Jason made during his time in prisonWays Jason's faith journey shaped his entrepreneurial success and approach to leadershipResources Mentioned In This EpisodeResidents Encounter ChristAbout Jason CourtneyJason is the founder of "Deals With Jason," based in St. Louis, Missouri. With a background in the building and real estate industry, he has experience in short sales, house flipping, and commercial developments. During a challenging period, Jason developed a business model that benefits both homeowners and buyers. Homeowners can turn unwanted properties into quick, hassle-free investments, while buyers who don't qualify for traditional loans have a chance to rebuild credit and become homeowners again. Jason is passionate about helping others while building a portfolio of passive income.Connect With JasonWebsite: Deals With JasonConnect With UsMaster your context with real results leadership training!To learn more, visit our website at www.greatsummit.com.For tax, bookkeeping, or accounting help, contact Dr. Nate's team at www.theincometaxcenter.com or send an email to info@theincometaxcenter.com.Follow Dr. Nate on His Social MediaLinkedIn: Nate Salah, Ph.DInstagram: @natesalah Facebook: Nate SalahTikTok: @drnatesalahClubhouse: @natesalah
Black August Memorial Black August Resistance 2024 finale “We attempted to transform the Black criminal mentality into a Black revolutionary mentality.” – George Jackson, from Soleded Brother: The Prison Letters of George Jackson On this last week of the 45th cycle of authentic Black August, moving into the final community breaking fast on August 31, New Afrikan Political Prisoner, Joka Heshima Jinsai, founder of Build the AIM, author and father – still caged after 30+ years; and New Afrikan former Political Prisoner and father, Fati Yero, home after 50 years, member of Cell Block 2 City Block, will co-host the final episode pulling together the last five weeks of commentary and political education regarding the original Black August Memorial Black August Resistance, its tenets and its historical and cultural purpose towards New Afrikan liberation and empowerment. Kan't stop, Won't stop Free Em All Liberate Our Elders All Power to the People! Free Palestine!
Black August Memorial continues! We just finished our 24hr fast FLEA day honoring George Lester Jackson, The Dragon. New Afrikan Political Prisoner, Joka Heshima Jinsai, founder of Build the AIM, author and father – still caged after 30+ years; and New Afrikan former Political Prisoner and father, Fati Yero, home after 50 years, member of Cell Block 2 City Block, will co-host giving commentary on the true meaning of Black August and George Jackson's influence on and significance to it. Kan't stop, Won't stop Free Em All Liberate Our Elders All Power to the People! Free Palestine!
DirtyBitPodcast 319- Cell Block C Naughty story by Eli Casablanca read by SeXXXySherry Dr Bethany Swick gets stuck in a room with prisoner while a riot is going on. She soon enjoys the company of the inmate. Eli Casablanca X = @elicasablanca elicasablanca.medium.com
In our second "2024 Get Your Ass Out the Door" episode, Josh and Rob are joined by friend of the show Todd Page (Malarkey Comedy)! The trio travels down to boys town to visit one of Todd's favorite bars: CELLBLOCK!They discuss the atmosphere, themed nights, speciality drinks, and why there's no ladies room. Also, here's the Simpson's clip that Rob references: SIMPSONSBrought to you by Littlefoot Coffee Roasters! Use promo code "POPPOP" to save 20% off your order. Visit our Merch closet here: https://poppinbottles.threadless.com/ Visit our Merch closet at https://poppinbottles.threadless.com!
The Death Star Cell Block.Explore the GFFA again as John Mills + Matthew Rushing discuss the moral implications of the cell blocks on the Death Star, and what the Rebel responsibilities were if prisoners other than Leia were in them during the Battle of Yavin!HostJohn Mills and Matthew RushingSend us your feedback!Twitter: @TheJediMasters Facebook: https://www.facebook.com/TheNerdParty/ Email: http://www.thenerdparty.com/contactSubscribe in Apple Podcasts
A group of old crusty podcasters go to a remote marijuana farm where they hope to make quick cash. But, they discover the location's forbidden delicacies and now must try to escape the mountain on which they are trapped with a shred of their dignity. On Episode 620 of Trick or Treat Radio we are joined by our bud Rocky to discuss the film Trim Season from director Ariel Vida! We also talk about the finer points of eating finger foods without your fingers, the periodic table of cheese, and the Ravenshadow rib removal service! So grab your cutlery of choice, take a hit off the stickiest ickiest herb on earth, and strap on for the world's most dangerous podcast!Stuff we talk about: Blair Witch Project, creators getting stiffed, 3D Glasses, gotta collect all the ‘itis', ZZ Bottom, Jed Voorhees, Sex in the Cell Block, Pokey Reese, to know him is to mute him, jumping rope, banana ted talks, FMK, Jane Goodall, Intravenous de Milo, Osmosis Boyardee, Anteethed, hands to face, Valedictorian GG Allin, Joey Chestnut, Kobayashi, Nathan's Hot Dog Eating Contest, Weed Weiners, Denegration X, rib removal service, Marilyn Manson, Qui-Gon Jinn, Darth Mall, Orange Julius, May the Foreskin Be With You: Why Circumcision Makes No Sense and What You Can Do About It, Smegma 11, Alan Cumming, Scroto Baggins, “Scropunzel Scropunzel let down your pair, Jizzamiversary, Ziggy Bomboleo, if you smoke it they will come, Jane Badler, V, Trim Season, Ariel Vida, Alexandra Essoe, Ally Ioannides, Cake Farts, Lemon Party, Stripes, Ally Sheedy, Breakfast Club, Anna Nicole Smith, weed cinema, hemming and harring, Godzilla Minus One, RRR, Linus, Monkey Man, Boy Kills World, Last Stop in Yuma County, Abigail, From Dusk Till Dawn, Radio Silence, Infested, fighting Draculas, Sixth Sense, just the steak tip, eating bananas with cutlery, the Scrooge McDuck of Cannabis, Canadian Cheese, Canadian Bacon, Poutine, the Periodic Table of Cheese, keep your Italian worm out of our cheese, Olive Garden, Queensryche, The World is a Dracula, Pennigatoni, risotto and fried cheese balls, one cockring to rule them all, The Boys, Jerry Only and the ZZ Bottoms, Gorillas in the Midst, I can't eat with my face, defensive and offensive, Field of Weeds, a delivery system for evil, Knights of the Round Tips, and Heavy Doth Sit the Foreskin.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the Show.
Welcome to You Haven't Blanked That! It's David Fincher month. This week watched The Killer. We talk about Netflix movies on theaters, the Smiths, based on a comic, What Would John Wilkes Booth Do?, last time in a movie theater, Kevin Williamson, a chorus, Chuck Palahniuk, adaptations, Ace Hardware, why people love the Smiths, different tone by the end of the film, Brawl in Cell Block 99, Corey Feldman. What We Are Blanking - Sherlock Holmes, Vertigo, Gangs of New York, Wolves of the Calla, Bodkin, Tires. Opening theme by the Assassins Closing theme by Lucas Perea For more info, click the link bio or below. https://linktr.ee/yhblankthat Email: Yhblankthat@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanked-that/message
Recomendados de la semana en iVoox.com Semana del 5 al 11 de julio del 2021
Hoy nos reunimos para hablar de cine de prisioneros de guerra, de presos políticos, de fugas y de reos comunes. Ramón, Ángel, Javier, Manuel, Miguel y Ricar forman parte del debate sobre los siguientes títulos: La fuga de Segovia - 1981 - Imanol Uribe La gran evasión - 1963 - John Sturges Traidor en el infierno - Stalag 17 - 1953 - Billy Wilder - Movistar Plus Feliz Navidad, Mr. Lawrence - Senjo no Merry Christmas (Merry Christmas Mr. Lawrence) - 1983 - Nagisa Ôshima Silencio en la nieve - 2011 - Gerardo Herrero La división Azul Española - 1942 - Joaquín Reig, Víctor de la Serna Todos a la cárcel 1993 - Luis García Berlanga - FlixOlé The Bridge on the River Kwai - 1957 - David Lean Evasión o victoria - 1981 - John Huston - Filmin Match en el infierno - Két félidö a pokolban - 1961 - Zoltán Fábri La guerra de Hart - Hart's War - 2002 - Gregory Hoblit El imperio del sol - Empire of the Sun - 1987 - Steven Spielberg - Amazon Prime Cadena perpetua - The Shawshank Redemption - 1994 - Frank Darabont - Max La milla verde - The Green Mile - 1999 - Frank Darabont - Filmin Orange Is the New Black (Serie de TV) - 2013 - Jenji Kohan (Creadora) - Netflix Oz (Serie de TV) - 1997 - Tom Fontana (Creador) - HBO Un profeta - Un prophète - 2009 - Jacques Audiard - Filmin El expreso de medianoche - 1978 - Alan Parker - Filmin El hombre de Alcatraz - Birdman of Alcatraz - 1962 - John Frankenheimer - Prime Vídeo Fuga de Alcatraz - Escape from Alcatraz - 1979 - Don Siegel - Amazon Prime Papillon - 1973 - Franklin J. Schaffner - Max y Prime Vídeo Prisionero del odio - The Prisoner of Shark Island - 1936 - John Ford - Filmin Brubaker - 1980 - Stuart Rosenberg La leyenda del indomable - Cool Hand Luke - 1967 - Stuart Rosenberg - Movistar Plus+ La última fortaleza - The Last Castle - 2001 - Rod Lurie - Movistar Plus+ Los valientes andan solos - Lonely are the Brave - 1962 - David Miller - Filmin Huracán Carter - The Hurricane - 1999 - Norman Jewison - Disney Plus Una oración antes del amanecer - A Prayer Before Dawn - 2017 - Jean-Stéphane Sauvaire - Filmin Brawl in Cell Block 99 - 2017 - S. Craig Zahler - Movistar Plus Vacaciones en el infierno - Get the Gringo (How I Spent My Summer Vacation) - 2012 - Adrian Grunberg - Prime Vídeo La evasión - Le Trou - 1960 - Jacques Becker En el nombre del padre - In the Name of the Father - 1993 - Jim Sheridan - Filmin En el nombre del hijo - Some Mother's Son - 1996 - Terry George Hunger - 2008 - Steve McQueen 1997: Rescate en Nueva York - Escape from New York - 1981 - John Carpenter - Filmin Demolition Man - 1993 - Marco Brambilla - Tivify Andor (Serie de TV) - 2022 - Tony Gilroy (Creador) - Disney+ Fortaleza infernal - 1992 - Stuart Gordon Cara a cara - Face / Off - 1997 - John Woo - Amazon Peligrosamente unidos - Wedlock (Deadlock) - 1991 - Lewis Teague Escape de Absolom - No Escape - 1994 - Martin Campbell El rompehuesos - The Longest Yard - 1974 - Robert Aldrich - Filmin Great Freedom (Gran libertad) - 2021 - Sebastian Meise - Filmin Plan de escape - 2013 - Mikael Håfström - Movistar Plus El bueno, el feo y el malo - Il buono, il brutto, il cattivo - 1966 - Sergio Leone - FlixOlé El día de los tramposos - 1970 - Joseph L. Mankiewicz - Amazon Prime Vídeo Celda 211 - 2009 - Daniel Monzón - Netflix Modelo 77 - 2022 - Alberto Rodríguez - Movistar Plus + El hoyo - 2019 - Galder Gaztelu-Urrutia - Netflix Sillas de montar calientes - Blazing Saddles - 1974 - Mel Brooks - Amazon Toma el dinero y corre - Take the Money and Run - 1969 - Woody Allen - Filmin O Brother! - 2000 - Joel Coen Experimento en la prisión de Stanford - 2015 - Kyle Patrick Alvarez - Movistar Plus + El experimento - 2001 - Oliver Hirschbiegel El experimento - 2010 - Paul Scheuring - Filmin La soga - Rope - 1948 - Alfred Hitchcock - Filmin Horas de luz - 2004 - Manuel Matji - FlixOlé AzulOscuroCasiNegro - 2006 - Daniel Sánchez Arévalo - Netflix Fuerza bruta - Brute Force - 1947 - Jules Dassin Sin remisión - 1950 - John Cromwell - Plex ¡Quiero vivir! - I Want to Live! - 1958 - Robert Wise
Hoy nos reunimos para hablar de cine de prisioneros de guerra, de presos políticos, de fugas y de reos comunes. Ramón, Ángel, Javier, Manuel, Miguel y Ricar forman parte del debate sobre los siguientes títulos: La fuga de Segovia - 1981 - Imanol Uribe La gran evasión - 1963 - John Sturges Traidor en el infierno - Stalag 17 - 1953 - Billy Wilder - Movistar Plus Feliz Navidad, Mr. Lawrence - Senjo no Merry Christmas (Merry Christmas Mr. Lawrence) - 1983 - Nagisa Ôshima Silencio en la nieve - 2011 - Gerardo Herrero La división Azul Española - 1942 - Joaquín Reig, Víctor de la Serna Todos a la cárcel 1993 - Luis García Berlanga - FlixOlé The Bridge on the River Kwai - 1957 - David Lean Evasión o victoria - 1981 - John Huston - Filmin Match en el infierno - Két félidö a pokolban - 1961 - Zoltán Fábri La guerra de Hart - Hart's War - 2002 - Gregory Hoblit El imperio del sol - Empire of the Sun - 1987 - Steven Spielberg - Amazon Prime Cadena perpetua - The Shawshank Redemption - 1994 - Frank Darabont - Max La milla verde - The Green Mile - 1999 - Frank Darabont - Filmin Orange Is the New Black (Serie de TV) - 2013 - Jenji Kohan (Creadora) - Netflix Oz (Serie de TV) - 1997 - Tom Fontana (Creador) - HBO Un profeta - Un prophète - 2009 - Jacques Audiard - Filmin El expreso de medianoche - 1978 - Alan Parker - Filmin El hombre de Alcatraz - Birdman of Alcatraz - 1962 - John Frankenheimer - Prime Vídeo Fuga de Alcatraz - Escape from Alcatraz - 1979 - Don Siegel - Amazon Prime Papillon - 1973 - Franklin J. Schaffner - Max y Prime Vídeo Prisionero del odio - The Prisoner of Shark Island - 1936 - John Ford - Filmin Brubaker - 1980 - Stuart Rosenberg La leyenda del indomable - Cool Hand Luke - 1967 - Stuart Rosenberg - Movistar Plus+ La última fortaleza - The Last Castle - 2001 - Rod Lurie - Movistar Plus+ Los valientes andan solos - Lonely are the Brave - 1962 - David Miller - Filmin Huracán Carter - The Hurricane - 1999 - Norman Jewison - Disney Plus Una oración antes del amanecer - A Prayer Before Dawn - 2017 - Jean-Stéphane Sauvaire - Filmin Brawl in Cell Block 99 - 2017 - S. Craig Zahler - Movistar Plus Vacaciones en el infierno - Get the Gringo (How I Spent My Summer Vacation) - 2012 - Adrian Grunberg - Prime Vídeo La evasión - Le Trou - 1960 - Jacques Becker En el nombre del padre - In the Name of the Father - 1993 - Jim Sheridan - Filmin En el nombre del hijo - Some Mother's Son - 1996 - Terry George Hunger - 2008 - Steve McQueen 1997: Rescate en Nueva York - Escape from New York - 1981 - John Carpenter - Filmin Demolition Man - 1993 - Marco Brambilla - Tivify Andor (Serie de TV) - 2022 - Tony Gilroy (Creador) - Disney+ Fortaleza infernal - 1992 - Stuart Gordon Cara a cara - Face / Off - 1997 - John Woo - Amazon Peligrosamente unidos - Wedlock (Deadlock) - 1991 - Lewis Teague Escape de Absolom - No Escape - 1994 - Martin Campbell El rompehuesos - The Longest Yard - 1974 - Robert Aldrich - Filmin Great Freedom (Gran libertad) - 2021 - Sebastian Meise - Filmin Plan de escape - 2013 - Mikael Håfström - Movistar Plus El bueno, el feo y el malo - Il buono, il brutto, il cattivo - 1966 - Sergio Leone - FlixOlé El día de los tramposos - 1970 - Joseph L. Mankiewicz - Amazon Prime Vídeo Celda 211 - 2009 - Daniel Monzón - Netflix Modelo 77 - 2022 - Alberto Rodríguez - Movistar Plus + El hoyo - 2019 - Galder Gaztelu-Urrutia - Netflix Sillas de montar calientes - Blazing Saddles - 1974 - Mel Brooks - Amazon Toma el dinero y corre - Take the Money and Run - 1969 - Woody Allen - Filmin O Brother! - 2000 - Joel Coen Experimento en la prisión de Stanford - 2015 - Kyle Patrick Alvarez - Movistar Plus + El experimento - 2001 - Oliver Hirschbiegel El experimento - 2010 - Paul Scheuring - Filmin La soga - Rope - 1948 - Alfred Hitchcock - Filmin Horas de luz - 2004 - Manuel Matji - FlixOlé AzulOscuroCasiNegro - 2006 - Daniel Sánchez Arévalo - Netflix Fuerza bruta - Brute Force - 1947 - Jules Dassin Sin remisión - 1950 - John Cromwell - Plex ¡Quiero vivir! - I Want to Live! - 1958 - Robert Wise Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Kurz vor seinem Geburtstag erfüllt sich Patrick einen seiner größten Wünsche seit Bestehen von Spielfilmen: Er guckt sich gemeinsam mit Actionspezi Dennis durch die kurze, aber umso befriedigendere Filmographie des ebenso trolligen wie brillanten S. Craig Zahler. Dabei geht es skrupellos, brutal und politisch nicht immer ganz unproblematisch zu. Doch die beiden Herren wissen, dass Kino eben manchmal – auf so vielen Ebenen – wehtun muss und palavern sich furchtlos durch Bone Tomahawk (2015), Brawl in Cell Block 99 (2017) und Dragged Across Concrete (2018). Und nur, falls daran noch irgendein Zweifel besteht: So nett jugendfrei wie in den letzten paar Spielberg-Folgen wird unser blutgetränkter Tanz in den Mai nicht. Autsch!
On this day in 1946, six inmates at Alcatraz Federal Penitentiary carried out the most violent escape attempt in the prison's history. See omnystudio.com/listener for privacy information.
THA #93 Join Anthony Garrett as he delves into the challenges faced by first responders struggling with stress, anxiety, and work-related issues in the high-pressure world of law enforcement. As a former corrections officer, Anthony sheds light on the unique struggles of retired first responders still haunted by past traumas, emphasizing the importance of seeking help and breaking the stigma surrounding mental health. Each provides a platform for healing and resilience, offering hope and guidance to those navigating the complexities of life after the badge. From navigating the harsh realities of prison life to finding purpose beyond the bars, Anthony's podcast offers a glimpse into the untold stories of frontline heroes and the journey to reclaiming well-being. Tune in as Anthony shares his personal insights, inspiring listeners to prioritize self-care and seek support in their own lives.Hosted by Ausha. See ausha.co/privacy-policy for more information.
What's up gang! We get deep and divided with our reviews. First we have Brawl in Cell Block 99, starring Vince Vaughn. We follow that up with a review of Alex Garland's possible last film, Civil War.
On this episode Aries and Andy talk about Power spin-off, movie recommendation, Brawl in Cell Block 99, Andre 3000, basketball, Iron Mike, anti-zionist, and Leroy Furious. Social Media Instagram: @SpearsBergPod Twitter: @SpearsBergPod Facebook: SpearsBergPod Patreon: SpearsBergPod Youtube: SpearsBergPod Learn more about your ad choices. Visit megaphone.fm/adchoices
On this episode Aries and Andy talk about nose picking, Brawl in Cell Block 99, incidentally, hand wipe situation, State Farm commercial, Quincy, movie suggestion, off the 'shit list'..., a scroll, and just checking in. Social Media Instagram: @SpearsBergPod Twitter: @SpearsBergPod Facebook: SpearsBergPod Patreon: SpearsBergPod Youtube: SpearsBergPod Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, Jinx Monsoon discusses their experience with fame and RuPaul's Drag Race. They discuss imposter syndrome and the challenges of being on Broadway. They also touch on the value and recognition in the entertainment industry and the importance of choosing battles. Throughout the conversation, they emphasize the importance of finding family and support in the industry. In this conversation, Angelica Ross and Jinx Monsoon discuss various topics related to their careers, personal growth, and the LGBTQ+ community. They explore the balance between artistic opportunities and financial stability, the importance of discipline and self-care, and the transformative power of live entertainment. They also touch on the impact of white supremacy, the need for accountability within the community, and the significance of spirituality and personal rituals. The conversation highlights the importance of creating your own path, being allies to each other, and making the most of every moment.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Welcome to the FINAL INSTALLMENT in our “Y'all Mothaf***as Need Satan” series! As we round up our dealings with Cinematic Satans we also discuss OUR PATREON (https://www.patreon.com/shudcast) where you can interact with us via Discord, see full episode video, get bonus episodes, and more… menacing Cody, Amber alerts, Akira Kurosawa, Paranormal Activities, and the other many movies that Curtis has recently watched, all leading up to our ultimate discussion of Mr. Rob Zombie and his Satanic masterpiece, THE LORDS OF SALEM. Speaking of PATREON… If you sign up at the $5 tier or above you will receive our first ever BONUS EPISODE where we go deep on Rob Zombie and what he means in all our lives – musically, cinematically, etc! So slam in the back of the SHUD-ula and get that sweet sweet bonus talk today! 00:00 - 13:00ish - Friendship! Amber alerts, menacing Cody regarding singing songs on our podcast, and all of our new friends over on the Patreon! 13:00ish - 1:22:00ish - All the other stuff we watched this time! Cody - Killers of the Flower Moon, Dunkirk, Dumb Money, Argylle, Dune, Inception, The Omen (2006), Poison for the Fairies, The Demon (1981), Berberian Sound Studio, Battle Royale, Se7en, A Serbian Film, Ghostbusters, The Cremator, The Black Cat, Dracula Prince of Darkness, Austin - A Serbian Film, Saw X, Out of Darkness, Funny Games (1997), Fire in the Sky, Nyad, The Creator, Warcraft, The Beekeeper, Curtis - Battle Royale, A Serbian Film, Funny Games (1997), Detroit Rock City, Blazing Saddles, Seven Samurai, Rashoman, Yojimbo, Sanjuro, The Hidden Fortress, Harakiri, Paranormal Activity 3, Paranormal Activity 4, Paranormal Activity: The Marked Ones, Paranormal Activity: The Ghost Dimension, Avengement, Badland Hunters, The Roundup, The Exorcist, After Hours, Donkey Skin, The Heroic Trio, Executioners, Lisa Frankenstein, Death Wish (1974), and Straw Dogs (1971). Lucas - Battle Royale, A Serbian Film, Prisoners, Black Swan, Galaxy of Terror, Suitable Flesh, Fury, Birdman, Star Wars Episode I: The Phantom Menace, The Irishman, and Brawl in Cell Block 99. 1:22:00ish - 2:12:35ish - THE LORDS OF SALEM - SHUDdown and discussion! 2:12:35ish - 2:17:35 “Y'all Mothaf*ckas need Satan” awards! 2:17:35 - End - Our next theme and our next movie!!
On this episode, we discuss BlackMale (2000, directed by Mike Baluzy and George Baluzy.) Meanwhile, Dan is haunted by the film, Lawrence finds a kindred spirit, and Ronnie loves The White Guy from Mantis. Recommendations The Work of Doris Piserchia Brawl in Cell Block 99 (2017, directed by S. Craig Zahler) Nightcrawler (2014, directed by Dan Gilroy) Prime Time Panic 2 (https://www.funcityeditions.com/shop/p/primetimepanic2bluray) E1 Pixar's Sodas (https://soundcloud.com/episode-one-868768631/300-pixars-sodas) Cautions Fast Food Getting Taco Bell off GrubHub late at night Watching Elemental (2023, directed by Peter Sohn) while super high
This month, Dave offers up a two-fer - Prisoner: Cell Block H (which he was a fan of) and Orange Is The New Black (which Annie was a fan of) for an interesting comparison. CW: suicide, rape, domestic abuse, violence against women Many thanks to Cambo, as ever, for our theme music. Contact us: willyoustillloveit@gmail.com
This week on Fabulous Film and Friends I'm both chasing butterflies and swatting at hornets whilst forcing my friends to watch and analyze the films of director S. Craig Zahler a filmmaker who couldn't have a more awkward professional name than if he had gone with "E. Marvin Bummington." But are his films worth discussing? We're talking 2015's Bone Tomahawk starring the mighty Kurt Russell, Patrick Wilson, Richard Jenkins, Matthew Fox, David Arquette, Lili Simmons, Fred Melamed, Kathryn Morris, Geno Segers and in a pair of blink and you'll miss ‘em cameos: Sean Young and Michael Paré then 2017's Brawl in Cell Block 99 starring Vince Vaughn, Jennifer Carpenter, Udo Kier, Marc Blucas, Geno Segers, Dion Mucciato and Don Johnson and finally Dragged Across Concrete which came out somewhere in 2019 and stars Mel Gibson, Tory Kettles, Michael Jai White, Thomas Kretschmann and “the S. Craig Zahler traveling players” who include Vince Vaughn, Jennifer Carpenter, Fred Melamed, Udo Kier and Don Johnson. My guests today are my go-to series regulars who are the only pair I know who have the slightest interest in joining me in this flight of fancy, Roseanne Caputi and Alex Robertson.Okay before we wander outside of town onto the deadly trail: the synopses: In Bone Tomahawk, a murderous outlaw unwittingly leads a band of cannibalistic savages into a peaceful western town where the brutes kidnap the jailed outlaw, a deputy and the town's doctor who is also the wife of Arthur, a local rancher. Despite an injured leg, Arthur joins a rescue party with Sheriff Hunt, Hunt's old deputy Chicory, and a mysterious dandy cum gunslinger named Brooder. With Arthur's injury slowing them down, the four brave men follow the savage's path to hellish territory where they come face-to-face with unimaginable horrors that test both the team's courage and sanity. Brawl in Cell Block 99 tells the tale of Bradley Thomas who, in one day , is fired from his job and learns his wife is having an affair. He decides the only way to salvage his marriage is to go full time into drug smuggling to make the real money. A year later all is well: Bradley has a big house and his wife is pregnant but he goes in on a shady deal with some sleazy cartel types and it all goes south, forcing Bradley to choose between killing cops and killing cartel members. He chooses the latter but still ends up with in a five year prison sentence in a minimum security prison. Seems it is what it is until a messenger from the cartel comes to visit Bradley on his second day in the cooler and tells him that if he doesn't get transferred to the maximum-security prison in order to kill a high value target in Cell Block 99 that his wife and unborn child will be murdered. Bradley dutifully and mercilessly follows their orders to save his family until he realizes all may not be what it seems. In Dragged Across Concrete, unorthodox and vaguely shady take-no-prisoners cops, Brett Ridgeman and Anthony Lurasetti, are suspended for use of excessive force and use their unpaid leave to plan a heist. Unfortunately, their plot leads to witnessing a deadly bank robbery committed by a vicious and amoral trio of crooks led by Lorentz Vogelmann, who hired street thugs Henry Johns and Biscuit to be part of their team. With a dire hostage situation on their hands and after witnessing several murders, Henry and Biscuit begin to suspect that their hours are numbered as part of Vogelmann's crew. At the same time, Ridgeman and Lurassetti are the only ones who have tailed the gang to their getaway hideout and are the only pair who can make a difference. The two forces meet up in the proverbial abandoned warehouse and chaos ensues. How do the films stack up?
On this episode, we reflect on the year that came before. Meanwhile, Lawrence is in love with 2025: The World Held Hostage by The Virus and wants to kiss it and marry it, Rahul struggles to remember his past genius, and Ronald is a gamer. Books Lawrence The Hollows by Daniel Church Ogres by Adrian Tchaikovsky Lost Girl by Adam Nevill Cold Moon Over Babylon by Michael McDowell Lawrence Warhammer Assasinorum: Kingmaker by Robert Rath Celestine: The Living Saint by Andy Clark The Watchers of the Throne Duology by Chris Wraight Rahul The Terror by Dan Simmons Hyperion Cantos by Dan Simmons The Cradle Series by Will Wight Ronald Swan Song by Robert R. McCammon The Cradle Series by Will Wight Aching God by Mike Shel Movies Ronald The Birds (1963, directed by Alfred Hitchcock) Blackberry (2023, directed by Matthew Johnson) Skinamarink (2022, directed by Kyle Edward Ball) Lawrence Godzilla Minus One (2023, directed by Takashi Yamazaki) Nightcrawler (2014, directed by Dan Gilroy) Brawl in Cell Block 99 (2017, directed by S. Craig Zahler) Videographic Content Rahul Dungeons and Dragons: Honor Among Thieves (2023, directed by John Francis Daley, Jonathan Goldstein) Beef (2023, created by Lee Sung Jin) The Venture Bros.: Radiant Is the Blood of the Baboon Heart (2023, directed by Christopher McCulloch) Songs Lawrence Oh, Susquehanna! by Defiance, Ohio Olde Tyme Memr'y by Mischief Brew Northwest Passage by Unleash the Archers Games Ronald Baldur's Gate 3 (2023, Larian Studios) Nickelodeon All-Star Brawl 2 (2023, Fair Play Labs) Outer Wilds (2019, Mobius Digital) Worst Swallowed (2022, directed by Carter Smith) Stolen Tongues by Felix Blackwell Final Episode of The Fall of the House of Usher (2023, created by Mike Flanagan)
Let's spend Christmas Eve with Cell Block of the Outcast MC Nation. We will talk about their recent Christmas function for the community and a little bit about club life from the 1%er side. Join us as we discuss.Follow us on:Instagram: www.instagram.com/BlackDragonBikerTV on Instagram. Thank you!TikTok: www.tiktok.com/@blackdragonbikertv Twitter: https://www.twitter.com/jbunchiiFacebook: https://www.facebook.com/blackdragonbikerBuy Black Dragon Merchandise, Mugs, Hats, T-Shirts Books: https://blackdragonsgear.comDonate to our cause:Cashapp: $BikerPrezPayPal: https://tinyurl.com/yxudso8zZelle: jbunchii@aol.com Patreon: https://www.patreon.com/BlackDragonNPSubscribe to our new discord server https://discord.gg/dshaTSTSubscribe to our online news magazine www.bikerliberty.comSubscribe to Black Dragon Biker TV YouTube https://tinyurl.com/y2xv69buSubscribe to our Prepper Channel “Think Tactical”: https://www.youtube.com/channel/UC-WnkPNJLZ2a1vfis013OAgGet 20% off Gothic biker rings by using my special discount code: blackdragon go to http://gthic.com?aff=147Get my new Audio Book Prospect's Bible from these links: United States https://adbl.co/3OBsfl5United Kingdom https://adbl.co/3J6tQxTFrance https://bit.ly/3OFWTtfGermany https://adbl.co/3b81syQ Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/6215528617345024This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3267493/advertisement
PLAYLIST INTRO CODY JOHNSON: Hat Made Of Mistletoe (2021) CODY JOHNSON & ROGER CREAGER: Feliz Navidad (2021) DAVINA & The Vagabonds: Santa Bring My Baby Back (To Me) BILL KIRCHEN & AUSTIN DE LONE: Santa Claus Wants Some Lovin' (2016) DALE WATSON: Christmas to Me (2016) CODY JOHNSON: Christmas All Year Long (2021) DALLAS MOORE: Honky Tonk Holidaze (2020) DARREL HIGHAM: Christmas Blues (2020) BUBBA T Ft Natalie Rose: Frosty The Snowman (2021) CANTON JUNCTION: A Big Ole Texas Christmas (2021) CODY JOHNSON Santa Claus Is Back In Town (2021) HEATHER MASSE: Mittens (2016) DARREL HIGHAM & IMELDA MAY: Forgive Me On Christmas Day (2021) SEE YOUR SHADOW: Christmas on Cellblock 9 (2021) CODY JOHNSON: If We Make It Through December (2021) TJ SPARKS: What Would Christmas Be (2020) CHAD MULLINS Christmas Angel (2020) ELVIS PRESLEY: Merry Christmas Baby
JESSICA RITCHEY supports a HOLIDAY FOR HEROES (2019) because: It's not a movie you watch, it's a pill you take ... THEME: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather ... PART ONE Save a Troop Child ... "Dad History" - Michael Jackson ... Jessica: Tubi Magus ... Treat Williams ... Marc Blucas ... Muscle Twink Death ... NCAA athlete ... BDUs, dad bod ... Hallmark Hall of Fame vs. This ... Hallmark's Jehovah's Witness energy ... Home Goods ... S'mores contest ... Slighting the troops ... PART TWO Cast Rundown ... The Expositional Challenge ... Plot Mop-Up: Military re-up; bringing a battalion home ... Missed dead-brother opportunity ... Combat without consequence ... The GLeeMONEX Initiative ... Job-solution man ... Spot the Angel: No ghost, no one, or everyone, or the Army ... Eat Your Heart Out: Coffee with warlords; thos beans; nog contest/Mexican chocolate nog; Waingro Counter; instant latte ... PART THREE The Hallmark Expanded Universe: Episodes 57, 86, and 5 ... Overdetermined: Dance at the barn; Hallmark war-zone quit; Ronin; support-the-troops speech ... PART FOUR Crossover: The Initiative; The Hurt Locker; Black Hawk Down II; Penny Dreadful ... The Hallmark Voight-Kampff Test: Co-workers Jade and Pam; Linda Fiorentino as Jade; high school principal; Patton ... Who's the Real Villain: Nothing happened, the Neocons, imperialism ... The fruitlessness of this movie and the GWOT ... PART FIVE Rating: 2.5 ... The Leftovers: Cold breath, hot sun ... Shot in Connecticut ... Wet dock (reprise) ... Wrapped hockey stick (reprise) ... Make with the death! ... IMDB Dive: 1800 soap episodes; Blucas and Brawl in Cell Block 99; Breckin Meyer; Marcia Clark ... George Templeton Strong ... "I love that you're so into history" ... "I'm the eggnog king!" ... Feliz Navidad! ... A Royal Corgi Princess/Christmas; A Pinch of Portugal; Love, Inheritance and Lunch ... Plugs ... Merry Christmas! All music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and "Ashokan Farewell," by Jay Ungar. Jessica's Twitter HERE • BlueSky HERE • Patreon HERE
00:00 INTRO 00:38 CATCH HIS DEATH 04:18 THE TOWN 09:26 CELL BLOCK C 15:33 THE SUMMER CAMP 19:44 THE GAS STATION 24:31 REBECCA IN THE CORN
The Alan Cox Show
We become helicopter parents for Jennifer Lawrence's No Hard Feelings then believe in Excelsior with David O. Russell's Silver Linings Playbook plus we also talk Happiest Season, Fred Claus, Four Christmases, The Holiday, The Devil Wears Prada, The Intern, The Family Stone, The Wedding Singer, Bone Tomahawk, Brawl in Cell Block 99, Beau Is Afraid, The Killer, Mad Max: Fury Road, and Love, Simon.0:00 - Intro: Thanksgiving + Elle's Fibromyalgia Diagnosis + NEW Bonus Shows4:17 - Review: No Hard Feelings17:05 - Retro Review: Silver Linings Playbook (2012)31:10 - Picks of the Week: Happiest Season, Fred Claus, Four Christmases, The Holiday, The Devil Wears Prada, The Intern, The Family Stone, The Wedding Singer, Bone Tomahawk, Brawl in Cell Block 99, Beau Is Afraid, The Killer, Mad Max: Fury Road, and Love, Simon40:11 - Outro: Please Rate & Subscribe!DONATE & SUBSCRIBE: FilmBuds.Bandcamp.comMEMBERSHIP: Patreon.com/FilmBudsFollow Film Buds:Film Buds on InstagramFilm Buds on TwitterFilm Buds on FacebookFilm Buds on Bandcamp (Bonus Shows & Donations)Follow Us on Letterboxd:Henry: Henry's LetterboxdElle: Elle's LetterboxdSend Us Suggestions/Questions/Comments: TheFilmBudsPodcast@gmail.comOur Other Podcasts:Music BudsFrankenFilmsElle DeWeese Photography:Instagram: @ElleDeWeesePhotographyLLCFacebook: @ElleDeWeesePhotographyLLCWebsite: Elle DeWeese Photography LLC
Justin and Paul are back . . . finally! After a small hiatus the guys are back to talk everything horror because it's Halloween, bitches! A new segment starts today, WILDCARD WEDNESDAY! Every Wednesday leading up to episode 300 the guys surprise one another with three random flicks they want to talk about. This week, Justin picks include "Ma," "Brawl in Cell Block 99," and "Hotel Transylvania!" And Paul's picks include, "The Blob ('88)", "Scary Movies to Tell in the Dark," and "House of Wax ('05)!"
Where are we on convicted felons coaching youth sports?
Christian Perez is a surprise guest for this episode because he chaperoned Randy into the world of Neil Breen. Clark loves Al Snow and Russell reviews one of his double-gifted copies of “The Last Horror Movie”. Films: How to with John Wilson (Series), Telemarketers (Series), Cade: The Tortured Crossing (2023), Twisted Pair (2018), Outlaw Johnny Black (2023), Black Dynamite (2009), Machete (2010), Wrestlers (2023), The Wrestler (2008), Asylum Blackout (2011), Brawl in Cell Block 99 (2017), Puppet Master: The Littlest Reich (2018), Dragged Across Concrete (2018), It Lives Inside (2023), Caverna (2023), The Last Horror Movie (2003), The Poughkeepsie Tapes (2007), Fateful Findings (2013), Big Shark (2023), The Neighbors (Series), The Tommy Wi-Show (Series), Sky Captain and the World of Tomorrow (2004), Skinamarink (2022), Fangs Out (2023), Studio 666 (2022), The Possession (2012), America's Deadliest Home Video (1993) Hey, we're on YouTube! Listening on an iPhone? Don't forget to rate us on iTunes! Fill our fe-mailbag by emailing us at OverlookHour@gmail.com Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)
Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th
Riley, Milo (now returned from holiday), Alice, and special guest David Banks (author of The City Authentic, out now on University of California Press) get into the relationship between real estate capital and the municipal deep state to answer the question: how the same twee aesthetic took over medium sized cities in the US, UK, Australia, and elsewhere, and why has BrewDog set itself up in the prison where they held Ned Kelly? Get the full episode on Patreon! If you want access to our Patreon bonus episodes, early releases of free episodes, and powerful Discord server, sign up here: https://www.patreon.com/trashfuture *LIVE SHOW ALERT* We're touring the Midlands, the North, and (one city in) Scotland in May! We'll be in Birmingham on May 14, Leeds on May 15, Manchester on May 16, and Glasgow on May 21. Tickets are available here: https://www.trashfuture.co.uk/events *STREAM ALERT* Check out our Twitch stream, which airs 9-11 pm UK time every Monday and Thursday, at the following link: https://www.twitch.tv/trashfuturepodcast *WEB DESIGN ALERT* Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here: https://www.tomallen.media/ *MILO ALERT* Check out Milo's upcoming live shows here: https://www.miloedwards.co.uk/live-shows and check out a recording of Milo's special PINDOS available on YouTube here! https://www.youtube.com/watch?v=oRI7uwTPJtg *ROME ALERT* Milo and Phoebe have teamed up with friend of the show Patrick Wyman to finally put their classical education to good use and discuss every episode of season 1 of Rome. You can download the 12 episode series from Bandcamp here (1st episode is free): https://romepodcast.bandcamp.com/album/rome-season-1 Trashfuture are: Riley (@raaleh), Milo (@Milo_Edwards), Hussein (@HKesvani), Nate (@inthesedeserts), and Alice (@AliceAvizandum)
As seen on Gutfeld!, Co-host of the Jim Norton & Sam Roberts show on SiriusXM Radio, Jim Norton, Co-host of Outnumbered, Emily Compagno, and Co-hosts of the Tyrus and Timpf podcast, Tyrus and Kat Timpf discuss an Ecuadorian man legally changing his gender to obtain full custody of his children. Later, the panel weighs in on Ghislaine Maxwell teaching etiquette classes in prison. Follow Greg on Twitter: @GregGutfeld Learn more about your ad choices. Visit megaphone.fm/adchoices
© 2020-2025 Ivy Podcast Discovery LLC
